The Art Institute of Chicago has announced its decision to return a 1913 painting, “Woman with a Fan,” by the renowned Cubist artist Jean Metzinger, to the heirs of its original owner, Emmanuel Lewenstein. This significant move follows a comprehensive examination of the painting’s provenance, revealing that its original sale was forcibly executed under the orders of the Nazis during their occupation of the Netherlands.
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The painting’s troubled history began in October 1940, just months after the Nazi invasion of the Netherlands. Emmanuel Lewenstein, a Jewish art collector, was compelled to auction the piece at an event in Amsterdam during this dark chapter of European history. The Art Institute acquired the painting in 1959, and it remained in their collection until recent findings prompted a re-evaluation of its lineage.
In a statement issued on 22 September 2022, Dr. Jacques Schuhmacher, the Executive Director of Provenance Research at the Art Institute, expressed the institution’s commitment to rectifying past injustices relating to art ownership. “This return reflects our commitment to take decisive action when new research clarifies the provenance of a work,” he affirmed, highlighting the museum’s dedication to resolving issues stemming from the Holocaust.
The route that “Woman with a Fan” took after its initial auction is marked by a complex journey across various art markets. After being auctioned in 1940, the painting reportedly resurfaced in the Dutch art scenes of the 1950s, eventually finding its way to Paris and New York City before its donation to the Art Institute by Mr. and Mrs. Sigmund Kunstadter in 1959.
The recent discovery that solidified the connection between the painting and the Lewenstein family was made possible through advanced research techniques, including infrared imaging technology. This process unearthed the pencil inscription of Paul Citroen’s name on the back of the painting. Schuhmacher explained that this key piece of evidence indicated its former ownership, stating, “This allowed us to make a connection between our painting and the Lewenstein family for the first time.”
Collaboration with the Mondex Corporation, a Canadian firm specialising in the recovery of Holocaust-era art, proved critical in reaching this resolution. The partnership allowed researchers to delve deeper into the painting’s background, and their collective efforts facilitated the return of the artwork to its rightful heirs.
As of now, “Woman with a Fan” is no longer on public display at the Art Institute. The museum is in the process of returning it to Lewenstein’s heirs, marking a commendable effort towards rectifying historical wrongs. Ambassador Stuart Eizenstat, who serves as counsel for Mondex and played a pivotal role in drafting the 1998 Washington Principles on Nazi-Confiscated Art, commended the Art Institute for its cooperation in the return process. “It is gratifying to see this painting returned to the Lewenstein family heirs, and the Art Institute of Chicago is to be congratulated for being an invaluable partner in making this return a reality,” he stated.
The return of “Woman with a Fan” underscores the ongoing commitment of institutions to address and rectify the art world’s darker chapters. This case serves as a poignant reminder of the struggles faced by countless individuals during the Holocaust and the importance of transparency in the provenance of artworks. As research continues to unveil hidden histories, the conversation around art restitution remains a vital aspect of contemporary discourse in the art community.
The actions taken by the Art Institute of Chicago reflect a larger movement within cultural institutions to engage with the implications of Nazi confiscation and the rightful return of stolen or looted art. Such efforts not only help to restore equity but also educate the public about the complexities of art ownership and the need for diligence in preserving the integrity of historical narratives.